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  • 1.
    Tillberg, Margareta
    Södertörn University, Centre for Baltic and East European Studies (CBEES).
    A Megaphone for the "Artist-Politician"2012In: Baltic Worlds, ISSN 2000-2955, Vol. 5, no 3-4, p. 83-Article in journal (Refereed)
  • 2. Tillberg, Margareta
    A new deal: Post-Soviet realities meet welfare state models. In what way will this reflect on the arts?2010Collection (editor) (Other (popular science, discussion, etc.))
  • 3.
    Tillberg, Margareta
    Royal Institute of Technology.
    Atomdesign: Die Kontrollräume von Tschernobyl2009In: Atombilder: Ikonografie des Atoms in Wissenschaft und Öffentlichkeit des 20. Jahrhunderts / [ed] Charlotte Bigg, Jochen Hennig, Göttingen: Wallstein Verlag , 2009, p. 186-196Chapter in book (Refereed)
  • 4. Tillberg, Margareta
    'Be a Spectator with a Large Ear': Victory over the Sun as a Public Laboratory Experiment for Mikhail Matiushin's Theories of Colour Vision2012In: Victory over the Sun: The World's First Futurist Opera / [ed] Rosamund Bartlett, Sarah Dadswell, Exeter: University of Exeter Press, 2012, p. 208-223, 304-307Chapter in book (Refereed)
  • 5. Tillberg, Margareta
    Collaborative Design: The Electric Industry in Soviet Russia 1973–792008In: "Focused": current design research projects and methods, Genève: Swiss Design Network (SDN) , 2008, p. 233-253Chapter in book (Refereed)
    Abstract [en]

    What are our first associations when we hear “Russian” or “Soviet” design? We probably do not have many, if then perhaps sputniks and weapons: Kalashnikovs, Molotov cocktails and the like. In addition to cosmic travel and the military, names from the Russian avant-garde could turn up: Rodchenko’s advertisements, Tatlin’s clothes, maybe even Alexandra  Exter’s constructivist plastic costumes for the 1924 science fiction film Aelita.

    This  paper will give an entirely different perspective on design practice in the Soviet Union. I will present the working methods of the innovative and groundbreaking design program “ElektroMera” (Russian for “Electric Measurement Instruments”) proposed for the “Electric Measurement Instruments Association” (“SouizElektroPribor”).

    The  ElektroMera program developed a rigid state industry conglomeration into a Western-style company in the Soviet Union between 1973 and 1979. With the logo “M” reminiscent of an electric impulse diagram, its competitors were giants such as Siemens.

  • 6.
    Tillberg, Margareta
    Stockholms universitet .
    Coloured universe and the Russian avant-garde: Matiushin on colour vision in Stalin's Russia, 19322003Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Colour was of fundamental importance in modernist art. One reason its significance has been studied so little with regard to Russian art is that Soviet archives were inaccessible until the early1990s. This study is based on extensive research in Russian archives and unpublished material. Contemporary ideas from German Bauhaus and De Stijl in Holland have received deserved attention. In the Soviet Union, avant-garde artists were silenced as enemies of the people – their priorities were other than the class struggle.The aim of this dissertation is to present and analyse the hitherto unknown colour theory of Mikhail Matiushin (1866–1934) published in Leningrad and Moscow in 1932.The work is divided into five parts. The first part, Colour, deals with the contexts of history, colour and art. During the 1920s a number of institutes for interdisciplinary scientific research in art, design and architecture were founded in the Soviet Union. One of them was the Institute of Artistic Culture in Leningrad – GINKhUK – where Malevich and Tatlin also worked. There the artist, musician and theoretician Mikhail Matiushin supervised the Department of Organic Culture with his Laboratory of Colour. To formulate a universal language was one goal, to redesign the world for the masses outside the ‘dead’ museums another, and to produce a new kind of human being, a third.The second part, Vision, analyses Matiushin's training programme, a variant of synaesthetical union of the senses, which includes an extension of the visual angle to a complete 360°. The third part, Culture, compares Matiushin with the theosophist mystics Pëtr Uspenskii and C. H. Hinton, the painter Wassily Kandinsky and the philosopher Henri Bergson. Part four, Ideology, sheds light on colour from those whose perspective was based on the State philosophy of dialectical materialism. By the early 1930s, the innovative institutes were closed down due to centralization of all expressions of culture under the banner of Socialist Realism. The last part, Synthesis, provides a detailed discussion on what happened after the 1930s. It concludes with the colour theory text, both its Russian original and for the first time in English translation.The belief is that Matiushin’s colour theory was not given any consideration after its publication in 1932. The results of this study show, however, that his colour handbook has been and still is used in the colour design of St. Petersburg.

  • 7. Tillberg, Margareta
    Elena Guro’s ‘Organic Eye’ Generates Leningrad Colour Scheme2005In: Understanding Russian Nature: Representations, Values and Concepts / [ed] Arja Rosenholm & Sari Auti-Sarasmo, Helsinki: Aleksanteri Institute , 2005, p. 343-370Chapter in book (Refereed)
  • 8. Tillberg, Margareta
    Farbe als Erfahrung: Experiment und praktische Anwendung in Kunst und Wissenschaft an der Moskauer GAChN und am Leningrader GINChUK2013In: Form und Wirkung: phänomenologische und empirische Kunstwissenschaft in der Sowjetunion der 1920er Jahre / [ed] Aage Hansen-Löve, Brigitte Obermayr, Georg Witte, München: Fink Verlag , 2013, p. 209-221Chapter in book (Refereed)
  • 9. Tillberg, Margareta
    Glödlampor och semaforer i rymden: färgidéer i mellankrigstiden2006In: Forskare och praktiker om färg, ljus, rum / [ed] Karin Fridell Anter, Stockholm: Formas , 2006, p. 33-54Chapter in book (Other academic)
  • 10. Tillberg, Margareta
    Grå är all teori, men livets gyllne träd är grönt2001In: Artes (Stockholm), ISSN 0345-0015, Vol. 27, no 2, p. 81-89Article in journal (Other academic)
  • 11. Tillberg, Margareta
    Independencies and interdependencies in art criticism today2009In: Pressures on art criticism: what is an independent art critic today? / [ed] Tillberg Margareta, Lund: The Swedish Art Critics Association Press , 2009, p. 15-22Chapter in book (Other (popular science, discussion, etc.))
  • 12.
    Tillberg, Margareta
    Max Planck Institute for the History of Science.
    Kandinsky in Sweden: Malmö 1914 and Stockholm 19162013In: A Cultural History of the Avant-Garde in the Nordic Countries / [ed] Berg, Hubert van den, Irmeli Hautamäki, Benedikt Hjartarson, Torben Jelsbak, Rikard Schönström, Per Stounbjerg, Tania Ørum and Dorthe Aagesen, Amsterdam ; New York, N.Y.: Rodopi , 2013, p. 325-335Chapter in book (Other academic)
  • 13. Tillberg, Margareta
    Konstruktivismens teori och begrepp1999In: Material : konst-fanzine, ISSN 1102-7762, no 37-38, p. xiv-xviiiArticle in journal (Other (popular science, discussion, etc.))
  • 14. Tillberg, Margareta
    "Litteraturen är tankebärande, men inte konsten": Om synen på konstens epistemologiska värde inom Vetenskapen2010In: Det åskådliga och det bottenlösa: Tankar om konst och humaniora tillägnade Margaretha Rossholm Lagerlöf / [ed] Tomas Björk, Peter Gillgren, Stockholm: Stockholms universitets förlag, 2010, p. 247-254Chapter in book (Other academic)
  • 15.
    Tillberg, Margareta
    KTH.
    Made in the USSR: Design of electronic/electrical systems in the Soviet Union from Khruschev's thaw to Gorbachev's perestroika2010In: Baltic Worlds, ISSN 2000-2955, Vol. 3, no 2, p. 34-40Article in journal (Refereed)
  • 16. Tillberg, Margareta
    Matiushin i muzyka2008In: Avangard i teatr 1910–1920-kh godov / [ed] G.F. Kovalenko, Moskva: Nauka ; Gosudarstvennyi institut iskusstvoznaniia, RAN , 2008, p. 321-346Chapter in book (Refereed)
  • 17. Tillberg, Margareta
    Matjusins 'erweitertes Sehen': Klangechos auf der Netzhaut2010In: Ultravision: Zum Wissenschaftsverständnis der Avantgarde / [ed] Sabine Flach, Margarete Vöhringer, München: Wilhelm Fink Verlag, 2010, p. 35-57Chapter in book (Other academic)
  • 18. Tillberg, Margareta
    Mikhail Matiushin and the Study of Colour2005In: Light and Colour in the Russian Avant-Garde / [ed] Tsantsanoglou, Maria, Cologne: Dumont , 2005, p. 473-475Chapter in book (Refereed)
  • 19. Tillberg, Margareta
    Objektivitet och subjektivitet i sovjetisk debatt 1920-1934: Färgens problematiska ontologi inom den dialektiska materialismen2003In: Passepartout - Skrifter for kunsthistorie, ISSN 0908-5351, Vol. 22, p. 102-120Article in journal (Refereed)
  • 20. Tillberg, Margareta
    Preface2009In: Pressures on art criticism: what is an independent art critic today? / [ed] Tillberg, Margareta, Lund: The Swedish Art Critics Association Press , 2009, p. 9-13Chapter in book (Other (popular science, discussion, etc.))
  • 21. Tillberg, Margareta
    Pressures on art criticism: what is an independent art critic today?2009Collection (editor) (Other (popular science, discussion, etc.))
  • 22.
    Tillberg, Margareta
    Södertörn University, Centre for Baltic and East European Studies (CBEES).
    Soviet Design 1950-19802013In: Baltic Worlds, ISSN 2000-2955, no 1, p. 28-29Article in journal (Other (popular science, discussion, etc.))
  • 23. Tillberg, Margareta
    The Cold War from a Swedish Perspective2010In: A new deal: Post-Soviet realities meet welfare state models. In what way will this reflect on the arts? / [ed] Margareta Tillberg, Lund: The Swedish Art Critics Association Press , 2010, p. 25-38Chapter in book (Other (popular science, discussion, etc.))
  • 24. Tillberg, Margareta
    Tsvetnaia vselennaia: Mikhail Matiushin ob iskusstve i zrenii2008Book (Refereed)
  • 25.
    Tillberg, Margareta
    Linnaeus University.
    Why is design "Made in the USSR" invisible in design history2013In: Crafting the Future: 10th European Academy of Design Conference April 17-19 2013 in Gothenburg, 2013Conference paper (Refereed)
    Abstract [en]

    In order to find out whether "the core actitivites" that constitute our canon of design history "have changed" or not - we need to look closer at what constitutes that very canon.

    In the literature, the standard account of design is usually linked to increased sales curves. When applying the market economy as a model, the hitherto most frequently used model in design studies, Eastern Bloc designers come to resemble little more than embarrassing imitators of their more advanced Western counterparts.

    So far, the countries behind the iron curtain have been invisible in the design literature. Is the reason for this because design did not play any role at all in these countries? But what if it did - what tools would be required to make this design visible on its own terms? And could it even be so that there is something for us to be learned from the design experience from behind the iron curtain?

    This paper will present VNIITE, the Federal Scientific Research Institute for Technical Esthetics, the only design institute in the Soviet Union and the biggest research institute for design world-wide. VNIITE, founded in Moscow in 1962, promoted a new attitude towards industrial production. A short introduction will be given to the prerequisites of the institute as well as of its major ideas. Informed by sources that include studies on technology as well as on economics and culture it will give an alternative perspective as to how the Soviet Union tackled the competition to “catch up and surpass America”.

  • 26. Tillberg, Margareta
    You are now leaving the American Sector: The Russian Group Dvizhenie, 1962-19782008In: Place Studies in Art, Media, Science and Technology: Historical Investigations on the Sites and the Migration of Knowledge / [ed] Andreas Broeckmann, Gunalan Nadarajan, Weimar: Verlag und Datenbank für Geisteswissenschaften, VDG , 2008, p. 147-165Chapter in book (Refereed)
    Abstract [en]

    Dvizhenie (Movement) 1962-1972 was the first art group in the Soviet Union who worked with cybernetics. In 1964 the collective had more than 30 participants: fine artists, actors, musicians, atomic- and electrical engineers, physicists and psychologists, poets, mimes, architects and technicians. Their cybernetic art took the form of kinetic light-colour-sound environments with "life-transforming" content. In 1967 their Cyberevents was shown in the engineering block of the Peter and Paul fortress in Leningrad, followed by Little Eagle, a cybernetics pioneer game-amusement camp in Odessa, and Cybertheater. The Artificial Bio-Kinetic Environment from 1969, was a utopian virtual reality project presenting a future city of 35-40 million people. Paradoxically enough, Dvizhenie's members were able to move in the spaces of both the extremely official (propaganda produced for international trade shows, military and space research, design for control rooms at airports  and big industries) and un-official (free jazz, long hair, drugs, existentialism and Hemingway) - that the people interested in cybernetics, new technology, design, art, bionic-architecture and future urbanism and city planning frequented. Dvizhenie was the first group in the Soviet Union that succeeded in realizing big exhibitions "without content" from the point of view of Socialist Realist ideology. How did they manage this? This paper will give a historical context for the visual traces and present concrete strategies to realise them.

    Comments: The author requests this paper to be considered as part of a panel of three papers, "Technics of Soviet Space", unless the committee wish to accept the paper as an individual submission without the other. The other papers have been submitted separately.Technics of Soviet Space (organizers: Simon Werrett; Margareta Tillberg; Margarete Voehringer)The October Revolution of 1917 inaugurated a new regime which demanded a vital reconfiguration of the arts, science, and media in order to construct the â new manâ of Soviet culture. Critical to this endeavour was the exploration, articulation, and construction of new spaces â a novel environment would conjur novel citizens, composed from new architectures, new boundaries for the disciplines, and new experiences and perceptions of space worked out by Soviet artists, scientists, musicians, technicians, and ideologues. The papers in this panel set out to map some of the key sites and spatial practices of Soviet media, arts, and technosciences in the twentieth century, beginning with a discusssion of the perceptual experiments of revolutionary experimenter Nikolai Ladovskii, and passing to cybernetic renegotiations of the boundaries of official and unofficial culture in the 1960s, and state constructions of festive, communal space in the 1970s. The presenters argue such exp eriments need to be situated in historical context to be properly appreciated, and considering their precedents and impact, assert the significance of the spatial dimensions of media, arts, and science in Soviet culture.

  • 27. Tillberg, Margareta
    et al.
    Nilsson, John Peter
    A new deal: Post-Soviet realities meet welfare state models. In what way will this reflect on the arts?2010In: A new deal: Post-Soviet realities meet welfare state models. In what way will this reflect on the arts? / [ed] Margareta Tillberg, Lund: The Swedish Art Critics Association Press , 2010, p. 9-14Chapter in book (Other (popular science, discussion, etc.))
1 - 27 of 27
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